Publishers Weekly
11/23/2020
Fiorani (The Marvel of Maps), an art historian at the University of Virginia, provides new insight into the work of Renaissance master Leonardo da Vinci in this fresh assessment. She examines Leonardo’s training in the Florence workshop of Andrea del Verrocchio and his study of the science of optics before moving on to a technical analysis of Leonardo’s major works, showing how he applied his scientific learning when creating The Last Supper and the Mona Lisa. Using information gleaned from infrared reflectography and X-ray fluorescence spectroscopy done on Leonardo’s paintings, Fiorani leads readers through the artist’s tortuous re-working of his art. “The secret of the Mona Lisa’s smile,” she notes, is created by the application of “multiple layers of colors and varnishes with low atomic density.” It also becomes clear that Leonardo “understood that the subtlest change of heart or mind involuntarily triggered an alteration in the appearance of bodies and faces” and thus saw painting as “a technique for revealing the human soul.” This beautifully written work is underpinned by immense scholarship; art lovers and historians will not be able to put it down. (Nov.)
From the Publisher
"[Fiorani] makes [her argument] with fresh force and pitches it against the misconception that Leonardo abandoned painting for science in his later years . . . when she loses herself in looking, the book achieves fluency and power. She notes the traces of the azure paint on the throat of the “Mona Lisa” and wonders if it is responsible for giving us the sense of seeing her pulse. Or take the bravura section on “The Last Supper,” in which she explains how the painting exists in two time frames, with several characters making gestures that will mark them in the future." —Parul Sehgal, The New York Times
"Through a series of close studies of paintings, Ms. Fiorani demonstrates how Leonardo explored light and shadow in a range of challenging subjects. She builds up the reader’s knowledge of what can be an abstruse and highly mathematical field through detailed and lively considerations of individual art works. Her study of the unfinished “Adoration of the Magi” (1481), is particularly compelling." —Cammy Brothers, The Wall Street Journal
"[Francesca Fiorani] provides new insight into the work of Renaissance master Leonardo da Vinci in this fresh assessment . . . This beautifully written work is underpinned by immense scholarship; art lovers and historians will not be able to put it down." —Publishers Weekly
"University of Virginia art historian Fiorani’s sparkling second book explores how Leonardo’s love of science informed his art. Intimately capturing the artistic, religious, and cultural landscape of Leonardo’s world, the author traces his development as an artist from his early apprenticeship days to the lessons he learned as he painted his greatest works and up to his posthumous legacy . . . Fiorani effectively describes Leonardo’s experiments with paints that allowed him to 'achieve an astounding variety of optical effects'." —Kirkus Reviews
“In this insightful and beautiful book, the great Leonardo scholar Francesca Fiorani connects his studies of optics with his painting. It’s a wonderful study of how Leonardo’s art and science were interwoven—which should be an inspiration to us all.” —Walter Isaacson, author of Leonardo da Vinci
"Francesca Fiorani’s lively intellectual adventure gives us a new understanding and appreciation of Leonardo’s ingenious cross-fertilization of art and science. It is a perceptive biography of Leonardo exploring the frontiers of science, but also a brilliantly informative guide to his paintings—many of which I will now enjoy seeing again with Fiorani’s fresh insights in mind.” —Ross King, author of Brunelleschi's Dome, Leonardo and the Last Supper, and Mad Enchantment
"Francesca Fiorani’s book makes an effective contribution towards demolishing the false notion of two Leonardos—one the artist , the other the scientist. Fiorani masterfully shows how science enabled the young Leonardo to take Renaissance painting to an unprecedented level of perfection. No matter how many books about Leonardo you might have read, this one is not to be missed. It will shape your understanding of his beautiful mind’s all-encompassing vision of art, nature, and man." —Paolo Galluzzi, director, Museo Galileo, Florence
Kirkus Reviews
2020-10-13
The science of light and shadow illuminates Leonardo da Vinci’s revolutionary art.
University of Virginia art historian Fiorani’s sparkling second book explores how Leonardo’s love of science informed his art. Intimately capturing the artistic, religious, and cultural landscape of Leonardo’s world, the author traces his development as an artist from his early apprenticeship days to the lessons he learned as he painted his greatest works and up to his posthumous legacy. In his book The Lives, Giorgio Vasari’s influential portrait of Leonardo “discredited” Leonardo’s “science of art,” ruining Leonardo’s reputation for years. Throughout, Fiorani’s detailed attention to Leonardo’s notebooks show how much his interests in art and science were interwoven. He produced a handful of paintings, many unfinished, but some 4,100 notebook pages filled with notations, sketches, and technical and shadow drawings. The author notes that in his late 30s, Leonardo’s interest in the world of art shifted to focus on science and philosophy, especially optics and the “subtle pattern of shadows” on objects. His earliest works were studies of drapery, and his innovative Florentine teacher, Andrea del Verrocchio, taught him to “carefully observe each fold and to capture the effect of shifting light.” Fiorani effectively describes Leonardo’s experiments with paints that allowed him to “achieve an astounding variety of optical effects” in his first solo painting, the Annunciation. With his “stunning” portrait Ginevra, he aspired to capture not just a young woman’s beauty, but also her soul and a “new way of painting.” Adoration, which he left unfinished, “forced him to rethink what he knew and did not know about the science of optics” while Virgin of the Rocks was a “masterpiece of optics.” Last Supper, which began to deteriorate shortly after he finished it, is “perhaps the saddest example of Leonardo pushing experimentation too far.” Mona Lisa remained unfinished as well.
An absorbing inquiry into a legendary artist and his techniques.
